And while expecting me to be the more free I could be, he pushed me to my own corners, always asking for more. More freedom, more experiments, more noise, more trash, more, more.

It was a fascinating experience where I literally wrote and recorded music live on the picture while Fabrice was screaming "more, more", yelling and singing to finally explode together in a "yeahhhhhh, that's fucking great!"

We thought about the movie as a global piece of work, not picture, then voices, then music.

I think my work is unusual, so when someone comes to me, it's rarely to ask me some Zimmer shit, even though it happens sometimes. When it happens, I do my best to write decent / elegant music that could match their needs and mine. But mostly, people want me to be myself.

My own story is like a fairy tale nobody would believe because it's exactly what you expect but it never happened.

I enjoy a freedom of tone and experimentation unparalleled, almost unthinkable in more traditional films — producers are becoming more conservative, dramatically.

Finally, the role of sound in these films is very important, and directors give it a lot of attention. We work hard, we try, it is not just enough to illustrate. We must build a character in its own music.

But there are constants. The first is anxiety, because you have to reinvent an entire personal universe from that of another, understanding the film, its form, its rhythm, its colors.

She relates how she then viewed his body at the morgue, while a long static shot of the park where the murder took place unspools, backed by Francois Eudes Chanfrault's sparse, sorrowful, string-based score.

The director/writer team is friends and fans of another French duo, Alexandre Aja and Grégory Levasseur, responsible for the blood-drenched Haute Tension. Logically, they have chosen to share the same editor (Baxter) and composer (François-Eudes Chanfrault), resulting in equally effective jackknife editing and a sonorous score.

Between survival and the camera bobbing at sea, the film draws from its cast and some convincing gore scenes well, all on a trippy soundtrack by François-Eudes Chanfrault ({{w|Vinyan]], The Hills Have Eyes).